迈克猫的影片

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咱看过迈克猫的所有影片，新的这个当然也要看的。

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By Mary Corliss / Venice
Sunday, Sep. 06, 2009

"Banking establishments are more dangerous than standing armies." So wrote Thomas Jefferson to a friend in 1816. Now Michael Moore, whose Fahrenheit 9/11 took on the U.S. Army, and the entire military-executive-industrial establishment, brings his latest documentary, Capitalism: A Love Story, to the Venice Film Festival. The land of Macchiavelli and the Medici is the perfect setting for Moore's nonfiction tragicomedy of greed and chicanery on Wall Street, in Washington, D.C., and through the entire economic apparatus. The movie will have its world premiere here tonight, before playing the Toronto Film Festival next week, opening Sept. 23 in New York and Los Angeles and achieving wide release Oct. 2.

Writing on his web site, Moore proclaimed, "The director of the festival [Marco Mueller] said that our movie was 'incredibly symphonic' and that he was moved by its epic nature. Jeez, these Italians! Everything's an opera to them!" The movie is not opera so much as impassioned journalism — a broadside fired at the good ship Free Enterprise, with the hope of altering its course, and dislodging the pirates who have seized it.

Capitalism: A Love Story does not quite measure up to Moore's Sicko in its cumulative power, and it is unlikely to equal Fahrenheit 9/11 in political impact. In many ways, though, this is Moore's magnum opus: the grandest statement of his career-long belief that big business is screwing the hard-working little guy while government connives in the atrocity. As he loudly tried to confront General Motors CEO Roger Smith in Roger & Me in 1989, and pleaded through a bull horn to get officials at Guantanamo to give medical treatment to surviving victims of 9/11, so in Capitalism he attempts to make a citizen's arrest of AIG executives, and puts tape around the New York Stock Exchange building, declaring it a crime scene.

Moore's admirers and detractors alike will recognize his methods in the new film: brisk, pointed synopses of complicated issues (though even a Harvard professor has trouble describing what a derivative is); sad tales of working-class families evicted from their homes because their mortgage rates ballooned; a snowbank of statistics, such as that worker productivity has increased by 45% since 1980 while average real income is stagnant; and pert clips ranging from 1950s instructional films to that YouTube favorite, "Cat Flushing a Toilet Music Video." The material is, as always in Moore movies, efficiently and amusingly marshaled to serve the larger theme: that the establishment thrives by cheating ordinary Americans.

How so? Moore eagerly counts the ways. He lays out the "Dead Peasants" insurance loophole by which a corporation can take out policies on their rank-and-file workers and, when they die, reap millions in tax-free payouts. To support his position that airlines are risking catastrophe by underpaying their pilots, he excerpts the Congressional testimony of Hudson River hero Chesley Sullenberger, who notes that his pay had been cut 40% and he lost his pension. In an episode that might have come from a Dickens novel, Moore tells of two Pa. judges who shut down a state-run detention center and sentenced children, some for the most minor of infractions, to a facility run by a private company that kicked back millions to the judges.

The anecdotes are instructive and appalling; and if they meander off the immediate talking point of the trillions the banks took in bailout money last year and the billions they made in profits this year, they bolster Moore's belief that no one should have been surprised by the collapse of a corrupt system, and the ingenuity with which the big-money boys land on their feet while stepping on ours. He must also have thought that many in his audience would be familiar with the shuttle of heavy hitters between Goldman Sachs and recent Administrations, Republican and Democratic. Moore does summon University of Missouri professor Bill Black, author of the 2005 book The Best Way to Rob a Bank Is to Own One, to describe Robert Rubin, Henry Paulsen, Lawrence Summers, Timothy Geithner and others as "powerful lobbyists from the inside, and we paid their salaries."

Black and Ohio Congresswoman Marcy Kaptur are Moore's star witnesses; he gets Kaptur to agree, without too much prodding, that the events of the past 12 months amount to "a financial coup d'etat." The rhetorical pitch keeps rising until, toward the end, Moore suggests a solution: not from the government down but from the grass roots up, through community groups (like LIFFT in Miami), united workers (like those at Republic Windows and Doors in Chicago) and the common decency of elected officials (like the Wayne County, Mich., sheriff who decided to stop foreclosures on his neighbors' homes).

At the end Moore says, "I refuse to live in a country like this — and I'm not leaving." But this call to arms demands more than a ringleader; it requires a ring, an engaged citizenry who are mad enough not to take it any more. That's unlikely to happen. Moore's films are among the top-grossing documentaries in history because they are pertinent populist entertainments. The question remains: will Capitalism: A Love Story rouse the rabble to revolt? Or will audiences sit appreciatively through the movie, then go home and play the cat-in-the-toilet video?


http://www.time.com/time/arts/article/0,8599,1920771,00.html

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by Arianna Huffington
September 21, 2009

Michael Moore has proven again and again that he has a remarkable feel for where the zeitgeist is heading. He's like a zeitgeist divining rod.

Roger and Me was way ahead of the curve on the collapse of the auto-industry. Fahrenheit 9/11 was way ahead of the curve on the collapse of the house of cards the Bush administration used to lead us to war in Iraq. Sicko was way ahead of the curve on the collapse of the US health care system. And now, with his new movie, Capitalism: A Love Story, he is riding the wave of the collapse of trust in our country's financial system.

The film, which opens in New York and Los Angeles on Wednesday, and all across the country on October 2nd, is a withering indictment of the current economic order, covering everything from Wall Street's casino mentality to for-profit prisons, from Goldman Sachs' sway in Washington to the poverty-level pay of many airline pilots, from the tidal wave of foreclosures to the tragic consequences of runaway greed.

Watching the film, I felt like Michael had climbed inside my head, made a list of all the things that have been obsessing me for the last 12 months, and brought them horrifyingly to life. It's one thing to know these things are happening; it's another to see them happening in front of your eyes.

Right from the beginning -- after a funny set-up juxtaposing End of Empire Rome and Modern America -- Michael goes directly to the beating heart of the economic crisis, showing a hard-working, middle class family being evicted from their home. The knot in your stomach starts to tighten -- and the outrage starts to build. Watch for yourself in this exclusive clip:

http://www.huffingtonpost.com/ar ... e-mic_b_293407.html

And so it goes throughout the film, with Moore successfully walking a cinematic tightrope, alternating between a punch-to-the-solar-plexus critique of the status quo, heart-wrenching portraits of the suffering caused by the economic crisis, and laugh-out-loud social satire.

The film also turns the spotlight on some underreported gems: an internal Citibank report happily declaring America a "plutonomy," with the top 1 percent of the population controlling more financial wealth than the bottom 95 percent; an expose of "dead peasant" insurance policies that have companies cashing in on the untimely deaths of their employees; and amazing footage of FDR, found buried in a film archive and not seen in decades, calling for a Second Bill of Rights that would guarantee all Americans a useful job, a decent home, adequate health care, and a good education.

And Moore underlines the irony of Larry Summers being put in charge of fixing the crisis he helped create. A little like asking Kanye West to plan a Taylor Swift tribute.

While taking no prisoners, and directing equal doses of ire at Republicans and Democrats alike, the film also features a number of heroes, including bailout watchdog Elizabeth Warren; Wayne County, Michigan Sheriff Warren Evans, who announced in February: "I cannot in clear conscience allow one more family to be put out of their home until I am satisfied they have been afforded every option they are entitled to under the law to avoid foreclosure"; and Ohio Rep. Marcy Kaptur, who took to the House floor and offered a radical solution to the foreclosure crisis: "So I say to the American people, you be squatters in your own homes. Don't you leave."

In the film, Michael describes capitalism as evil. I disagree. I don't think capitalism is evil. I think what we have right now is not capitalism.

In capitalism as envisioned by its leading lights, including Adam Smith and Alfred Marshall, you need a moral foundation in order for free markets to work. And when a company fails, it fails. It doesn't get bailed out using trillions of dollars of taxpayer money. What we have right now is Corporatism. It's welfare for the rich. It's the government picking winners and losers. It's Wall Street having their taxpayer-funded cake and eating it too. It's socialized losses and privatized gains.

Which is why -- although you can bet many will try -- Capitalism: A Love Story can't be dismissed as a left-wing tirade. Its condemnation of the status quo is too grounded in real stories and real suffering, its targets too evenly spread across the political spectrum. Indeed, Jay Leno, America's designated Everyman, was so moved by the film he insisted that Moore appear on the second night of his new show, and told his audience that the film was "completely nonpartisan... I was stunned by it, and I think it is the most fair film" Moore has done.

After a preview screening last week (at which I did a Q&A session with Michael), he came over to my home for a late night bite. Over lasagna, he told me about an incident that occurred while he was filming that exemplifies how the economic crisis cannot be looked at through a left vs right prism.

It happened while he and his crew were shooting the climax of the movie, where Michael decides to mark Wall Street as a crime scene, putting up yellow police tape around some of the financial district's towers of power.

While unfurling the tape in front of a "too big to fail" bank, he became aware of a group of New York's finest approaching him. Moore has a long history of dealing with policemen and security guards trying to shut him down, but in this case he knew he was, however temporarily, defacing private property. And his shooting schedule didn't leave room for a detour to the local jail. So, as the lead officer came closer, Moore tried to deflect him, saying: "Just doing a little comedy here, officer. I'll be gone in a minute, and will clean up before I go."

The officer looked at him for a moment, then leaned in: "Take all the time you need." He nodded to the bank and said, "These guys wiped out a lot of our Police Pension Funds." The officer turned and slowly headed back to his squad car. Moore wanted to put the moment in his film, but realized it could cost the cop his job, and decided to leave it out. "When they've lost the police," he told me, "you know they're in trouble."

There is a real sense of urgency to Capitalism: A Love Story. I asked Michael what impact he hoped the film would have. He chuckled and said that, in some way, he had made the movie for "an audience of one. President Obama. I hope he sees it and remembers who put him in the White House... and it wasn't Goldman Sachs."

At the Q&A I did with Michael -- and, indeed, wherever he goes -- people who see the film are asking: What should I do to make a difference?

There are obviously many things people can do. At HuffPost, we are asking everyone to bear witness by putting flesh and blood on the tragic human cost of the greed and corruption that have brought us to where we are.

Tell us your story -- or the stories about people you know whose home has been foreclosed, whose job has disappeared, whose kids can't afford to go to college, whose credit card interest rate has been jacked up to 30 percent, etc, etc, etc. And tell us the positive stories too: the heroes -- judges, lawyers, volunteers -- who are helping people stay in their homes, the neighbors who are coming together to alleviate the pain and make their community a better place to live in. You can tell these stories in words, pictures, or videos. We'll collect them on a special Bearing Witness 2.0 section.

When people are given the facts and shown the reality of what is happening, they will almost always do the right thing. Help us keep showing that reality.


http://www.huffingtonpost.com/ar ... e-mic_b_293407.html

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by Better Days
Fri Oct 02, 2009

My wife and I just got back from your new movie. As with all your films, I was very impressed with the way you present information and the stories of regular Americans, things we almost never see or hear about in the mainstream media. But there was one glaring omission from your film: a date and place where we will meet to express our outrage, to stand together with the Republic Windows workers, the family in Miami, and the family who were losing their farmhouse in the Mid-West.

We don't have a FOX News to coordinate our efforts. We don't have corporations to sponsor a bus that will travel across the nation getting publicity for their astroturf protest in D.C. And we know from our protests in the past that the media all but ignores us. But we have you. And we have us. People like my wife and I and 500,000 others who stood in Manhattan in 18 degree weather in February 2003 to say no to another Iraq War. People like my son and his college friends who went to New Hampshire and Ohio last year to volunteer for Barack Obama. People sitting in that theatre this evening. WE are ready. Set a date and a place, Wall Street or Capital Hill. WE will be there. DO IT!

http://www.dailykos.com/storyonl ... e-ONE-thing-missing